


It’s Because I Like Girls Too, Right?

by lol_mmk



Category: Voltron: Legendary Defender
Genre: Alternate Universe - Actors, Alternate Universe - High School, Bisexual Keith (Voltron), Demisexual Keith (Voltron), Good Lotor (Voltron), Interviews, M/M, Off-screen Relationship(s), Pansexual Lance (Voltron), Screenplay/Script Format, Teasers & Trailers, Trans Lotor, everyone but Keith and Lance have different names in the movie, fashion designer!Keith
Language: English
Status: In-Progress
Published: 2018-11-20
Updated: 2018-11-20
Packaged: 2019-08-26 06:59:23
Rating: Mature
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 1
Words: 1,866
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/16676812
Author URL: https://archiveofourown.org/users/lol_mmk/pseuds/lol_mmk
Summary: Lance McClain has been trying to prove himself in the acting world since he first stepped foot onto the scene. Though there’s various perks of having a father with a copious amount of works under his belt, living in his shadow is not one of them. After years of participating in award winning movies, Lance decides he’d like to set a project he’s had in mind for years into motion.Keith Kogane is a struggling fashion designer with years of debt from college. Putting both of his majors into use, Keith likes to act in a few indie short films; it isn’t until a desperate Matthew Holt begs him to star in his gender bender Grease musical that Keith catches Lance’s eye as the perfect co-lead for his movie.-Interviews, scripts from the movie, trailers, and  off-screen lives.





	It’s Because I Like Girls Too, Right?

**Author's Note:**

> So I just want to say this before anything, I made Keith bi and Lance pan for a reason. Their sexualities play a really big part in the movie because you hardly ever find a mlm pairing that doesn’t have at least one gay guy. I just wanted to explore and portray the discriminations against bi and pan guys. I’ve got absolutely nothing against gay Keith and bi Lance. 
> 
> Also, I’m a big, fat demi bisexual. I’m not trying to fetishize mlm couples and don’t really find that much interest in sex with guys. Any sexual scenes (which are barely there, I’m pretty sure this chapter and one more are the only ones with anything remotely physically sexual) in here aren’t really major and don’t go into a lot of detail. 
> 
> Ok! So this work is going to comprise of various types of chapters. There’s going to be a lot chapters featuring the actual script, the casting process, behind the scenes, table reads, trailers and teasers, interviews (individual actoras and whole cast panels), and off-screen interactions. I’m not like, a professional screenwriter; I’m kind of just studying various movie scripts and going from there, so I’m sorry if the scripts aren’t that great, I tried my best!

`IT’S BECAUSE I LIKE GIRLS TOO, RIGHT?`  
`Written by Lance Mateo McClain-Serrano & Allura Altea Serrano`  
  
`Inspired by ‘Valentine’ by Carol Ann Duffy `  


  
``  
`Revision December 21, 2012`  
``

`THE BOY’S ROOM (THE HAULDING RESIDENCE) - MORNING`

`The first thing you see is a strikingly blue retina. It’s expanding and shrinking in odd patterns, occasionally interrupted by a blink. `

`Next, the shot is set straight down on a chest moving up and down slowly, a crucifix necklace dropping off to the side of the neck and laying on the bed. The person has just woken up, still dazed with sleep and lazily stroking a hand from his collar bone to his breast bone, fingers barely brushing skin. `

`Distinct mumbles are coming from upstairs, that of a YOUNG GIRL and her FATHER. The shot next is focused on the closed bedroom door. `

`YOUNG GIRL  
What is this crap?`

`FATHER  
It’s Lance’s poetry project.`

`You see a close up of the blue retina again. It rolls in exasperation tinged with sleep. The mumbling from behind the closed door continues.`

`YOUNG GIRL  
Why does he have to read a love poem?`

`FATHER  
I believe he said something about analysis?`

`YOUNG GIRL  
George Gordon?`

`The FATHER hums in question. `

`FATHER  
Really? He’s been mumbling Walt Whitman to himself all week. Wonder why he’s reciting a poem that he isn’t even presenting. `

`YOUNG GIRL  
The glamorous life of an English professor: knowing poets just by hearing a few lines of their work. `

`The FATHER hums again and clears his throat. `

`FATHER`  
‘She walks in beauty, like the night  
Of cloudless climes and starry skies’

`THE BOY is back on the screen. The shot is a side view of his lips, pressed into a loose line as the FATHER reads the poem. `

`THE BOY`  
`[mumbling to himself]` ‘And all that’s best of dark and bright  
Meet in her aspect and her eyes’

`The screen flashes to various images. `

`MONROE HIGH HALLWAY A - MORNING`

`The first is a short clip of a pale and thin hand running through raven hair. `

`MONROE HIGH ENGLISH CLASSROOM - AFTERNOON`

`The next is the same pair of hands gesturing wildly, the figure obviously standing behind a podium in a classroom. `

`Then fingers drumming against a desk rhythmically; the view of this one is from behind, the right arm slightly obstructed by their shoulder, and two students sitting in front of the figure. `

`THE BOY’S ROOM (THE HAULDING RESIDENCE) - MORNING`

`The scene is back to the bedroom, a view of a bare tan chest. THE BOY’s hand is still brushing up and down his abdomen, then it’s moving further down near his boxers and still coming up. The hand continues to go further down each time until THE BOY’s finger skim the material over his crotch. The rustling of fabric and shifting bed sheets is just slightly heard. `

`The shot transfers to the side view of THE BOY’s lips again. They are pressed into a thin line for a moment before they part slightly. `

`MONROE HIGH ENGLISH CLASSROOM - AFTERNOON`

`The scene changes again, back to the classroom. A full view of THE BOY is presented. He is standing in the front of the classroom, behind a podium. The class around him is quiet. His eyes are directed at a student in the front row sporting a nest of messy black locks. The students face isn’t visible, but you can make out a movement of them nodding their head in encouragement. `

`THE BOY`  
‘Thus mellowed to that tender light  
Which heaven to gaudy day denies.’

`Flashes of clips appear again as a voiceover from THE BOY rings out. `

`THE BOY`  
`[voiceover] `‘One shade the more, one ray the less,  
Had half impaired the nameless grace  
Which waves in every raven tress,  
Or softly lightens o’er her face;  
Where thoughts serenely sweet express,  
How pure, how dear their dwelling-place.’

`MONROE HIGH FOOTBALL FIELD - AFTERNOON`

`A lit cigarette dangles limply between the two pale fingers, pink lips wrapped around it. The cigarette is pulled away and smoke floats out of the barely parted mouth. The camera is focused on the mouth, nothing above the top of the nose shown. `

`MONROE HIGH HALLWAY A - AFTERNOON`

`(The next clip) the pale hands tucking black hair behind equally pale ears that are slightly red a the top. `

`MONROE HIGH FOOTBALL FIELD (BLEACHERS) - NIGHT`

`(The next clip) pale hands cupped over a mouth before coming down to rub together in front of the persons face, the tips of their fingers cut out of the frame so their eyes aren’t visible. Their cheeks are red along with the tip of their nose. When they exhale, their breath is visible, evidence of how cold it is. A tan hand appears around the persons back to rub at their wool-jacket-covered arm in attempt to warm them up. They press themselves into the owner of the tan hands side, so their shoulders are touching.`

`MONROE HIGH TRACK - AFTERNOON`

`(The next clip) pink lips tilted into a challenging smirk. It forms the words ‘you ready?’ clearly but the words are just barely heard in a monotone voice over the voiceover. This clip plays for about three seconds.`

`MONROE HIGH PARKING LOT - AFTERNOON`

`(The next clip) the same pink lips quirked in a small, reserved smile. The clip plays until a little bit after the voiceover ends; it plays for a while, maybe twenty seconds, slight twitches in the mouth are visible as it threatens to turn into a full grin when the next clip cuts it off. `

`THE BOY`  
`[voiceover continues] `‘And on that cheek,’

`THE BOY’S ROOM (THE HAULDING RESIDENCE) - MIDNIGHT`

`The scene is back to the bedroom, but it is no longer lit by morning light seeping through the curtains. Now, there is yellow lamplight illuminating two figures in the bed. THE BOY lies on his back, fully naked with a pale knee draped over his crotch. THE PALE BOY that lays beside him is on his stomach, also naked, eyes obstructed by wrinkled sheets that he clutches near his forehead. THE PALE BOY is seen to nudging his knee playfully into THE BOY’s crotch. The back of THE BOY’s tan index finger traces over THE PALE BOY’s cheek bone gently. `

`THE BOY`  
`[voiceover continues] `‘and o’er that brow,’

`There’s a closeup of THE PALE BOY’s light black eyebrow. A tan thumb brushes it back and forth. A happy hum is heard as THE PALE BOY moves his head closer to THE BOY. The camera doesn’t move, catching the action as the commotion died down and the frame was left half creamy white and half black. When the camera focuses, you can make out THE PALE BOY’s hairline, his hair wavy and shiny. `

`THE BOY’S ROOM (THE HAULDING RESIDENCE) - MORNING`

`The shot changes to the window, illuminated by morning light. `

`THE BOY`  
`[voiceover continues]` ‘So soft, so calm, yet eloquent,’

`The scene stays the same, but the shot changes to two pale and tan pairs of feet. The sheets reach up to THE BOY’s knees, but their mussed and slanted to cover down to the middle of THE PALE BOY’s thighs. A pale foot is rubbing up a tan calf. A tan foot is hooked around a pale ankle. `

`THE BOY`  
`[voiceover continues]` ‘The smiles that win, the tints that glow,  
But tell of days in goodness spent,’

`The shot pans upwards, traveling over bunched up sheets and intertwined hands before stopping on the boys faces. THE PALE BOY has his eyes closed, smiling softly, as THE BOY has a hand nestled into his companions hair. `

`THE PALE BOY opens his eyes, revealing dark indigo retinas.`

`THE BOY’S ROOM (THE HAULDING RESIDENCE) - MORNING`

`The scene goes back to its original place, THE BOY’s eye. It’s clenched shut for a moment before opening fast, pupils dilated. Soft pants are heard throughout the room. `

`The shot changes to THE BOY’s chest(the angle is from above), hand out of shot, dipping below the waistband of his underwear. It stays like that for a couple of seconds, a tan chest expanding and shrinking as sweat begins to give the skin a nice shine. Light clings are heard from THE BOY’s necklace. Then, two pale hands travel up THE BOY’s sides, sliding up to his shoulders, then going back down. The pale hands continue rubbing up and down until they pause right near the bottom of THE BOY’s ribcage. They curl in there, encouraging THE BOY to arch his back. `

`The shot changes to a full side view of the bed. THE BOY is laying on it alone, back arched and hand down his pants. `

`The shot changes, the pale hands once again beneath THE BOY’s back in an angle from above. The pants are heard getting louder and louder, soft whine chorusing along with them. `

`The shot changes again, a close up of THE BOY’s chest in a side view. Black tufts of hair creep into view slowly. THE BOY keens and the pale hands are shown to tighten on his side. The black haired head continues its way upwards, eyes obstructed from view as it’s hair cascades around them like a curtain, but a small pale nose is seen brushing against THE BOY’s tan skin. Lips follow shortly after, slightly parted and also pressed into THE BOY’s tan skin. As the figure makes its way up THE BOY’s body, the camera pans to follow its progress. Occasional light kisses are pressed into the tan skin as well as small nuzzles with the nose. When they finally reach THE BOY’s neck, he continues to suck at the column of skin along his throat until they flip their hair out of their eyes with a jerk of the head. Indigo eyes peek at their work on THE BOY’s previously unblemished skin. THE PALE BOY smiles slightly as THE BOY lets out a breathy noise. `

`The view turns to closeup of THE BOY’s lips as he arches his back farther. `

`THE BOY  
[breathlessly] Keith…`

`The view is turned back to KEITH at THE BOY’s neck. He smiles again, but this time it’s tinged with arousal and his finger are just barely shown in the frame tangling in THE BOY’s crucifix necklace. `

`KEITH`  
`[against THE BOY’s neck] `‘A mind at peace with all below,’

`KEITH runs his tongue up THE BOY’s neck, tracing the flexed tendons until the lead to his jaw line and eventually giving a gentle nip at the earlobe. KEITH swipes his tongue against the shell of THE BOY’s ear and whispers into it`

`KEITH`  
`[seductively]` ‘A heart whose love is innocent!’

`A loud bang against the door startled THE BOY. KEITH remains tucked against his neck as THE BOY’s eyes shoot open and he jerks his head towards the offending noise. `

`The camera shifts to the door. `

`FATHER  
LANCE! Get ready for school!`

`The camera shifts back to LANCE. He is shown to be alone in the bed, hand still down his pants, eyes still wide, and body covered in a light sheen of sweat. `

`Finally the camera angle shifts to the window, morning light shining through. The rustling of sheets is heard in the background, as well as a muffled curse. `

`LANCE  
[mumbling] Shit. `


End file.
